Family and friends joined me in the Tolkien Birthday Toast on January 3rd, a global event sponsored by the Tolkien Society. It’s a wonderful feeling to know that your own toast is part of a continuing wave of glasses raised around the world every hour at 9 p.m. local time. This year, I was fortunate to be sitting by a warm fire while the winds blew with hurricane force and the air dropped to bitterly cold temperatures outside. I had another reason to celebrate: close to the end of December, the latest volume of Tolkien Studies arrived in my mailbox, with an article that I co-authored with my colleague Jeff MacLeod: “Visualizing the Word: Tolkien as Artist and Writer.”

I have spoken on this topic at a few conferences over the last few years (for example, at the 2015 New York Tolkien conference). One especially pleasurable part of the research was the opportunity to look at some microfilm and digital images of Tolkien’s drawings in the Marquette University Archive. Archivists and the Tolkien Estate are quite rightly wary of allowing direct access to Tolkien’s original artwork even though every scholar and fan interested in Tolkien’s art would love to handle his pictures; however, I soon realized that when examining digital copies, I could expand the image and see it even more closely than I might have just by eyeing the original. That ability led to some interesting observations, as I hope you’d agree if you have a chance to read our essay.

That research trip contributed one part to the overall argument that Jeff and I are making in this article. I’ll quote a section from the opening paragraph that summarizes our four main points:

[We begin by citing a number of critics who discuss Tolkien’s artwork, and then continue:] All of these critics make a strong case for the importance of Tolkien’s “encounters with art and imagery” (Organ 117), but their focus is on the influence of other artists and artistic movements on Tolkien’s art and writing. We propose to turn our attention to Tolkien’s own practice and knowledge of visual art in order to examine how it is an integral part of his writing craft, his creativity, and his ideas. We look at four main ways in which the visual image and the written word merge in Tolkien’s creative work. First, we examine how his visual practice aids in the drafting of his stories. Second, we look at how it influences him on a stylistic level in his descriptive prose choices — our focus is on landscapes in The Lord of the Rings for an analysis of these first two elements. Third, and more generally, we find that Tolkien’s visual imagination and skill combine with writing in inventive ways, as in his alphabets, his calligraphy, and his monogram. Fourth, we explore how Tolkien’s artistic practice influences his theories about fantasy and illustration. We contend that Tolkien’s art and his visual imagination should be considered an essential part of his writing and thinking. (pp. 115-116)

I can’t copy the whole article here, but let me give you a taste of some of our ideas and show you a few of the images we discussed but couldn’t reproduce in our essay.

Tower of Kirith Ungol sketch, Sauron Defeated, p. 19.

If you flip through the pages of Christopher Tolkien’s volumes of The History of Middle-earth or examine the books on Tolkien’s artwork by Wayne Hammond and Christina Scull, you’ll see some of Tolkien’s sketches that appear as anything from a squiggle in the middle of a line, to diagrams and maps, to sometimes more developed pictures, such as his Tower of Kirith Ungol (still spelled with a “K” in the earlier manuscript). We discuss the interplay of text and image in the example shown here. (This isn’t the best version of the image that you can find; check out Hammond and Scull’s The Art of The Lord of the Rings for that).

A manuscript sketch like the Tower of Kirith Ungol poses intriguing questions: when did the drawing start taking over the page? Were the words written after the drawing? Did the sketch guide the wording of the passage? Was the sketch revised after the pencilled text was written over in ink? We examined only this page in detail, but it would be interesting to expand this kind of study to other sketches in Tolkien’s manuscripts that bring us closer to an understanding of his process of composition.

From looking at Tolkien’s process of drafting in this part of The Lord of the Rings, we move on to consider his prose descriptions of landscapes to discuss what we call his “painterly” style. In this, we were influenced by Brian Rosebury’s analysis of Tolkien’s prose, in which he declares that Tolkien describes like a painter. Although Rosebury then qualifies his claim, we agree with the initial assessment. We also ground our analysis on insights from a 1981 article in Mythlore by Miriam Y. Miller on Tolkien’s use of colours. What we found typical of Tolkien’s landscape descriptions is the use of some basic colours modified by qualities of light, along with an artist’s attention to the composition of the image.

Here is an example of that painterly style: Tolkien’s description from the “Fog on the Barrow-downs” chapter, in which he describes the land “in flats and swellings of grey and green and pale earth-colors, until it faded into a featureless and shadowy distance.” From here, our eye moves to the horizon, where there’s a “guess of blue and a remote white glimmer blending with the hem of the sky” (FR, I, viii, 147). This impressionistic prose style describes the land entirely in painterly colours, lights, and shapes. A visual analogue (though not meant to be an illustration of the Barrow-downs) can be found in one of Tolkien’s early watercolours, “King’s Norton from Bilberry Hill” (Artist 21, fig. 16).

This is only one example of many that we could point to in Tolkien’s landscape descriptions that demonstrates the eye and imagination of a visual artist.

A couple of other main points in our essay extend our view of how the verbal and the visual intersect in Tolkien’s creative imagination. His monogram, his invented writing systems, his calligraphy all demonstrate ways in which the visual and verbal cohere to make meaning. And of course, some of his theoretical discussion of subcreation in “On Fairy-stories” is delivered in visual terms. For example, when talking about the recovery afforded by fantasy, Tolkien states, “We should look at green again, and be startled anew (but not blinded) by blue and yellow and red” (OFS p. 67).

Tolkien’s special talent, in so many facets of his creative life, was the ability to combine the written word with the observational skills of a visual artist. Although he is renowned as a philologist and creative writer, his artistic practice and visual imagination, we contend, should be seen as more than just a life-long hobby or a secondary skill. While his artwork is beginning to gain some critical attention on its own, our study suggests that the literature-art connections made by earlier critics such as Brian Rosebury and Miriam Y. Miller can be significantly expanded. Our examination of Tolkien’s composition process, his descriptive prose style, his monogram and other forms of calligraphy, and his theories about fairy-stories and illustration demonstrate the interplay of the visual with the verbal throughout his work. We believe that Tolkien’s artistic vision and skill should be acknowledged as an integral and crucial part of understanding his imagination, writing, and ideas. (pp. 127-28)

Tolkien Studies is an annual publication that can be purchased from West Virginia University Press. If your library has a subscription to Project Muse, you can get a copy that way. If you don’t have the means to get a copy of the article, please let me know.

Our bibliography contains a number of resources on Tolkien’s art and prose style. The ones that I’ve mentioned in this post are:

Hammond, Wayne G. and Christina Scull. The Art of The Lord of the Rings by J.R.R. Tolkien. London: HarperCollins, 2015.

It’s hard to trace the development of this article. Some of it was inspired by a discussion in The Reading Room discussion boards on TheOneRing.net many years ago. Many discussions with Jeff over the years, himself an accomplished artist, took us in this direction. We are both grateful to our university for providing us with research grants and sabbatical leaves and to the Tolkien Estate for allowing us access to some of Tolkien’s papers. I am especially indebted to archivist William Fliss at Marquette University for listening to my theories and allowing me a glimpse of the real thing!

I’ll post more on other resources for studying Tolkien’s art later this week.

One of the most exciting parts of scholarly research, in my opinion, is having the opportunity to read an original manuscript. This week’s “Talk on Tolkien” features the work of Dr. John D. Rateliff, who is an expert in Tolkien’s Hobbit manuscripts. Dr. Rateliff has studied Tolkien’s drafts and revisions of The Hobbit and these versions, along with Rateliff’s commentaries and notes, have been published in the two-volume History of The Hobbit. Recently, Dr. Rateliff announced that a shorter one-volume edition is forthcoming as well, a Brief History of the Hobbit. You can follow Dr. Rateliff’s work on his blog, Sacnoth’s Scriptorium, and on his website.

Although the video below is not a recording of a complete talk, it allows us to listen in on the question period after a presentation that Dr. Rateliff gave in 2012 at Marquette University, the home of The Hobbit manuscripts. You can hear all kinds of intriguing details in the video about Tolkien’s habits of revision, surprises in the manuscripts, different versions of The Hobbit, and more.

Dr. Rateliff talks about how Tolkien would often write on scraps of paper, including exam papers. Tolkien tells the story of how the first line of The Hobbit came to him one day as he was marking exams. Rateliff’s History of The Hobbit notes that this page does not survive, but here is Tolkien himself describing the moment in this brief clip:

I’ve found that people are sometimes surprised that all of Tolkien’s papers aren’t at Oxford where he was a professor for most of his life. But in fact, manuscripts of The Lord of the Rings, The Hobbit, Mr. Bliss, and Farmer Giles of Ham are all in the US at Marquette University (in Milwaukee, Wisconsin) in the J.R.R. Tolkien Collection How did they get there, you might well ask? Listen to the Marquette archivist, William Fliss, explain:

I’ve spent a number of happy hours in the Tolkien archives at Marquette, although my experience is a mere glimpse compared to the years that Dr. Rateliff studied there. I’ve felt quite privileged being able to work in the bright and peaceful reading room of the archive, aided by the very helpful staff and surrounded by stacks of grey boxes filled with treasures.

The other major archive holding Tolkien materials, as might be expected, is at Oxford in the modern manuscripts collection. Here you can find some manuscript drafts of Tolkien’s work, such as The Homecoming of Beorhtnoth, as well as lectures, notebooks, translations, letters. Anyone with a chance to visit Oxford should definitely take an opportunity to tour the old and wonderful Bodleian Library, including the Duke Humphrey’s reading room (better known as the library in the Harry Potter movies).

But Tolkien’s papers are actually held in what was called the New Bodleian across the street from the old library. Scholars used to work in a fairly cramped reading room. You would check your bags at the door and after showing your reader’s pass proceed down a rather dark corridor into a long, crowded room at the end of the hall. Rows of tables seemed to be squeezed into the space between bookshelves, files, microfilm readers, and librarians’ desks. I think I remember windows, but if I recall correctly, they were rather high up on the wall and did not provide a view. But who cared when you were sitting there and handed a Tolkien manuscript to read! I spent many an hour in that room squinting at Tolkien’s scrawl and then typing at a furious pace to transcribe as much of what I was reading as possible before closing time.

That library has undergone an extensive renovation and has just recently opened to scholars and now to the public, renamed as the Weston Library. From the look of some videos and news reports the rooms are light and spacious — and apparently you can even buy a cup of coffee there! I can’t wait to go back — I hope very soon. The following video presents the mind-boggling massive extent of the Bodleian’s operations and includes a look at the new Weston building:

Anyone have any experiences or memories of archival work they’d like to share? Has anyone visited these or any other archives holding Tolkien materials?

In my previous post, I wrote about one of the roundtable discussions in the Tolkien Studies special area introduced this year at the national Popular Culture / American Culture Association conference, which was held in Chicago in April. Today I have a summary of another roundtable discussion, this one on doing research in the Tolkien archives at Marquette University in Milwaukee. Because I was one of the panellists, I didn’t take as copious notes as I might have done as an audience member, but at least I can give you a taste of the discussion. My part will look disproportionately longer than the others, but that’s because I have notes on my own presentation!

The Tolkien Collection in the Marquette University Archives

It is not unusual to be met with surprise if you happen to mention that there’s a Tolkien archive – in Milwaukee. Many people assume that all of Tolkien’s manuscripts would be held at the Bodleian Library in Oxford. And while the Bodleian has a rich collection of Tolkien papers – such as his lecture notes, drafts of some of his fiction, translations and glossaries for his teaching – the J.R.R. Tolkien Collection at Marquette University is where you will find his Lord of the Rings and Hobbit manuscripts, as well as Farmer Giles of Ham and the original Mr. Bliss.

Our roundtable started off with William (Bill) Fliss, the Archivist in the Department of Special Collections, describing the history and scope of this collection, starting with William Ready, the head librarian in the 1950s who was the first to inquire if Tolkien would sell his literary papers, which is probably one of the reasons why they ended up at Marquette. Bill also pointed out that the collection extends beyond these manuscripts to secondary sources, including materials donated by Tolkien collectors. To get a full sense of these diverse materials, take a look at the online descriptive inventory. Another interesting development is that it is now possible to record various Tolkien-related websites so that they too will become part of the historical record.

Amy Amendt-Raduege spoke next about her experiences as a Marquette grad student — the first in the history of the English Department there to complete a PhD on Tolkien – and the many happy hours she spent in the archives. Amy pointed out that the archives are a lovely place to work (and they are: large tables, a wall of windows, and a place of quiet concentration with librarians bringing riches to your desk). She commented on how it was fun to see other people there occasionally working on other aspects of Tolkien’s fiction, creating a sense of a scholarly community. She advised researchers to ask the librarians for help when needed, as they are the most valuable resource in the archives. She also described the thrill of looking at the manuscripts themselves – something that all the panellists agreed with. You can read Tolkien’s drafts of Lord of the Rings in The History of Middle-earth, but only in looking at the manuscripts will you see, for example, the other side of the page, with Tolkien’s comments on exams, or his doodles, or other notes that give you a sense of what he was doing at the time. And of course, there is the challenge of reading his handwriting when he was especially inspired.

While Amy spoke about reading the manuscripts, I pointed to various topics that could be pursued in a study of pre-internet Tolkien fandom using the vast array of periodicals, fan materials, and adaptations collected in the secondary sources. There is great potential there for fan studies, film studies, and reception studies by examining how, through the years, fans have expressed their ideas and opinions in numerous zines on topics such as the following:

fans’ perceptions of what it means to be a fan;

the beginnings of organized Tolkien fandom in science fiction fandom and the perceived relationships between these two fan communities;

the perceived relationship between fans engaging in activities for fun and those developing more serious academic interests as time goes on;

the prevalence of fan works – fiction, art, poetry, songs, plays – from the earliest days of fan publications, without derogatory comments on fanfic such as you might find today;

the way in which women were writing Lord of the Rings fiction from female points of view;

the various ways in which the collection supports film studies – for example, tracking fan reactions to the Ralph Bakshi film, or reading the Ackerman screen treatment (with Tolkien’s comments in the margins), or imagining John Boorman’s screenplay (if only it had been filmed!), or reading fans’ anticipations of what a live-action film by some guy named Peter Jackson might be like.

and finally, looking at the ways in which fans perceived the Lord of the Rings “cult” in the 1960s and 70s when Tolkien fandom was highly visible. Essays on the subject extend from early days in the 60s to retrospectives in the 1980s. An interesting range of opinions can be found, from conservative to liberal, as these zine article titles might suggest: “Hippie Hobbits”; “Hippies or Hobbits?”; “Hippies versus Hobbits”; “Hippies relating to hobbits”; “On Behalf of the Half Hippy” and “Those hippity hobbits.” (Clearly, the alliteration was too much to resist).

These suggestions by no means exhaust the possibilities of the secondary materials in the Marquette collection, but I hope they make clear that the history of organized Tolkien fandom is to be found in the archive in Milwaukee. I should add that I was commenting on North American and British sources, but other materials from around the world can also be found in the collection.

Our final panellist was Richard West. He spoke of his long experiences and happy memories of discovering and using the Tolkien Collection over the years. He reiterated what Amy had said earlier: that there is nothing like looking at the actual manuscripts. Richard told the story of seeing Mr. Bliss and thinking that it was a lovely book that should be published, and of course it eventually was. He also spoke about how being able to consult manuscripts can complete the printed record: for example, in the published edition of Tolkien’s famous Letter 131 to Milton Waldman, Carpenter omits a small section, but it can be read in the original document in the collection.

I think the theme of our roundtable could be summed up simply by saying that the Marquette Tolkien Collection is an invaluable resource that all Tolkien researchers should know about.

If you’ve used the collection, I’d be interested in hearing about your experiences in the comments. If you were at our roundtable and have other notes to add, please feel free.

Areas of interest for future conferences

As I mentioned in my previous post, you can keep in touch by joining the Tolkien Studies at PCA open Facebook group. There you will find a report by organizer Robin Reid on the success of this trial run of the Tolkien Studies area. After a business meeting on the final day of the conference, participants identified a few areas of interest for future meetings that emphasized the multidisciplinary nature of Tolkien studies, including discussions of publishing opportunities and the state of Tolkien scholarship; teaching Tolkien; Tolkien linguistics; critical race studies; gender and queer studies; Tolkien in a modern context, including his knowledge of science and his relation to the genres of science fiction and fantasy; and creative presentations.

The next national PCA/ACA conference will be held in New Orleans in 2015.